Adresse Fossveien 24
0551 Oslo
Norge
Ragnhild Aamås
[Uten tittel]
Telefon
(+47) 22 99 55 00
Post
Postboks 6853
St. Olavs plass
N-0130
MFA
Kunstakademiet 2012
Faktura
Postboks 386
Alnabru
0614 Oslo
Org.no.
Giro
977027233
8276 0100265
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MASTER
>((*)v-v(*))<
The twilight is soon over, and
heads are turned (-)orthward
(oh master!)
Intended direction of good pavement: --------------------------------------Walking along a pavement you get closer to the landscape by an intended route.
The sky is darkening and the land-scape scopes, registering eyes, point. blank.
eye. blinking. You be the line follower (for now), a line layer a leyline, leyman .....and, the throbbing signals rushing underground in cables pushing
electricity, troubles you not. The signal dischargers overhead. White electric
rain. Blue electric rain. Pink electric lines streaming rain forest light
humidity across the topos. Approaching a topo-grAphy if intent. This is how we
lay the land, how we read the objects relation and the placement. Another image:
a page spread, the relation between the words on the page. Writing post
Mallarmé; Yes the sp
ace
..
i...i ngg..sssp..aceing...ngg is
carrier of meaning too. Scope target I eye.
The following shall be addressed in no particular order: Voice (recorded,
present, spoken, "sound ignores the boundary of the skin" (Blom, 1998, 74).
Bloom! -------- Text (prior and as notation device, memory machine, the storage
device: external hard drive, narration) ------ Sign (I want to draw your
attention too..., writing and reading is also visual to me ' and assonance, and
objective chance by Breton & and updated through Haegue Yang) ---Meaning of
description ---In art and life, sustainable practice (neo-sincerity or trust) -Since I have begun to mistrust any mono lined narrative I will begin by placing
some rubble in this nicely paved text path, just to have a stumbling, or at
least a shuffling of feet, at the beginning. Let me introduce you to the short
bio.:
''Ragnhild Aamås lives and 'works' between London and Oslo. She wants you to trust her. If she says that the
kernel of her things are based in bringing the periphery of the piece to its centre, that is to say she works
with paradoxes and cracked coherence. And she enjoys what words can make the world do. Rather than
being absorbed in the mechanisms of ’organic spectacle’ she allows for estrangement within the method
(breaching the longing for a total-system by making the reflection appear through looking at confinement,
not by staring at freedom).''
There, already doubly asserted, she/I searches for the guts of illusory freedom,
not to sort out the plumbing, but to nestle in their warmth. It stinks, sure.
Topology, an ontological guide
Describing something is already interpreting it, and 'the' language is not
innocent, so many words and word-images (this tool) no longer carries sense.
Such a long time ago the separation, splitting of any sign (the signifier, the
signified floating), still it is news. Oh no! Yvonn Rainer remains experimental!
'
will be used to hang certain words that do and at the same time do not, pick up
the meaning I want. They 'carry' un-agreeable eccessive content. As example,
take 'works' from the bio above. Is it work I do when arting? Arbeit, labour,
arbeid, production. Struggle and sweat, the accepted way (still!) in our
protestant supported imaginary of how to morally produce value.
Baldessari does not want to make more boring art, but more over, he does not
want to produce the material that already exist, including photography. There
exist a vocabulary of images. Why make more of the same? Debris of 'stock'
material is only growing. This relentless process of distancing from a act of
creation. Defined as for instance: an iconoclastic gesture that reproduces at
the same time, the context within which the gesture is acted out and effectuated
(Groys 2009, 72). It is singularly connected with the tradition of western art
as modernism.
To distinguish some circuits: growing up in Norway, art as such, the western
tradition, the only tradition, is as foreign to me as for any Thai or Korean.
Managing the relation to Western modernism, the present narrative of a past pre
1989, not as dead history but as global consciousness, locating and speaking
within the pace of international art in on a local site. This is the what of
constituting the contemporary condition of 'contemporary art' — not only working
in the shadow of modernism (in this narrative, post- or altermodernism is still
stuck in the same system). (See Charles Esche, multiple essays and lectures).
That is, not the issues being touched on, not the media used or the the residues
of products that are contemporary with the arter, is what makes the action
contemporary, not memories (same) of video games played in Norway, UK, Osaka or
Seoul. But the reflection on a tradition, historisation and re-writing into, or
onto, it. The shared references cross old style borders make the memorysame
same, it guarantees co-munal, shared thus understood. But the con-temporariness
of it, is the shared conditions of being live. An old economic system break
down, a possible new economic system still being figured out - pirate bay,
(NEW!)flatter - and religion surging again. The goal, quite simply and bunny
like naively: learning to dwell in the world, this world, in a better way. The
goal does not give the opportunity to lie about its-worlds conditions of
exposure, ecology, limits, consumption mindset: consumption-bulimia, hunger for
sustenance, illusory freedom, image making. What kind of images? Images to
identify with, we do anyway, beauty is sufficiently addressed by design and
fashion in its formalistic function, to contest it is to bring Kant along and
say that pleasure, being the sign of beauty, arises not from small pored skin
only, but also from a drying rack covered with knitting (Haegue Yang, "NonIndépliable, la tour bleue", 2010. Domestic. Mobile. Anthropomorphic. Hybridcombination). She says she's only looking for what make sense on a objective and
private sense making, the overlap between which charges the moment. ‘‘The
contemporary is the act of presenting the present’’ (Groys 2009, p71).
-----------------
363.a)
Broodthaers: I don't believe in film, nor do I believe in any other art. I don't believe in the unique artist or the unique work of art. I
believe in phenomena, and in men who put ideas together.
(1968).
363.b)
Trepied: M. Broodthaers, your curriculum vitae shows that film is not your only activity. Could you tell us then what film means to
you?
Broodthaers: Before I answer, I'd like to say that I am not a filmmaker. For me, film is simply an extension of language. I began with
poetry, moved on to three-dimensional works, finally to film, which combines several artistic elements. That is, it is writing (poetry),
object (something three-dimensional), and image (film). The great difficulty lies, of course, in finding a harmony among these three
elements.
--------------------------------------The image making brings us back onto pavement, and to terms like 'working',
'making', 'creating', 'production', belongs to sets of assumptions and ways of
thinking about art that I cannot relate to what my doing consist in (verbalising
does not solve every problem).
------------
The minimal gesture and the absurdity of the act. The predominant skill guiding me in my practice is curiosity. Research
has grown ever more important as I become interested in a phenomena, sentence or form. I realise or have a sense of
knowing, that there is something about this structure I like and thus must challenge and chase. My pieces are the result of
this chase, they are instances of an process of an indefinite stretch. They are examples of thinking through shapes and
placement of material invested with value through cultural history (present and past) and society. The rest of this context
text will address the specific pieces/ documentation of previous work. Please consider my comments on the pieces as
important as the pieces themselves, and when I list a title, I list it because it truly informs the piece, it is not a fake
nutritional supplement.
(bio from a context statement).
Giving chase, is more like it.
In what kind of landscape am I hunter?
In a landscape dislocated and de-territorial-ised.
-------------Boris Groys on meaning: a topological inscription, the context and not the
artworks 'own' form, is what constitutes meaning (Groys 2009, p74). To relocate
and inscribe the copy with a territory. Point of installation, to make a
here.now for the copy, pulling it from circulation, the act of inclusion is the
generative of meaning. The distribution and heterogeneity does not deprive it,
it charges the material.
Installations (some would call it sculpture, or exhibiting, but it utilises the
room as a concrete poet would the page, the spread, that is, objects are charged
with meaning through their relation to each other, you wouldn’t regard the
relation between (wrd on pg exampl) as incidental, neither are the 'total
installations', rather, the connections between pieces, when I display stuff.
(curating myself)). Bringing a center and periphery of an art.
Explaining that:
I install a sound piece, Nothing Seems to Sustain Me More (2011). It is done
with ease and seeking a lightness of touch. Loudspeakers placed on blue plastic
crates to lift them above ground, there is a double reverb since the recording
is from the same room. Accompanying is an improvised sitting structure, an
overhead light projection, prints for distribution of the text being read, etc.
Later the same sound piece is displayed/made present propped in a window, played
off a smartphone device. The piece remain the same, it is a kernel, while the
other things (windowsill, smartphone - availability of text, seatings, light
projection) are ephemera. But also, the reverb on the recording and its double
presence is ephemera. What I am after is in a way the old definition by Seth
Siegelaub, between primary and secondary information, but in my pieces, in
making and revisiting older pieces I draw the ephemera into the kernel of the
piece. The next instantiation of an overhead light projection, the further
interest in the closure of the didactic device by amount of material placed on
its surface. Explanation, this time, canceling itself out. Concerning the sound
piece:
I have earlier worked with improvised texts (from "the close unconscious"), in connection to exhibitions. These were
recorded throughout the production process of the exhibition and presented on portable audio devices. This time I wanted
another kind of text, to "escape the solipsism of my own work", as it was. Working from the exhibition title «Nothing
seems to sustain me any more", through a google search and listing the 10 first results (which are the only results most
people look at when searching the Internet according to statistics), and then editing it down to a readable text. Close enough
to making sense that the text seems strange, but still not altering the concrete text aside from merely removing some words
and conforming the appearance to a standard of my choice. I recorded the text in the exhibition space which has a highly
characteristic reverb which is lost when people populate the exhibition.
This sound piece, a pushed voice performance/reading where contrary to my
earlier voice based sound pieces, the text is the departure point. My earlier
voice based sound pieces were pure improvisations based on debris sentences
connected to the productive process behind installations and videocollages,
bringing the sounds of the display site, studio and life environment into the
presence of the exhibition through recordings. Availability, on DIY cd releases,
portable audio devices within the exhibition, on walls, on notation sheets.
Sound.
Text.
Way on.
Example
cunt
cunt
cunt
cunt
cunt
lifter
lifter
lifter
lifter
lifter
.
.
.
.
.
STACCATO
(can’t lift her)
.
C.L.
.
C.L.
.
C.L.
.
Voice lingers on each syllable
C.L.
.
seal,seal,zeal,seal,seal,seal,zeal,seal,zeal,seal;
.
melodic
Seal this production machine.
.
(from RAA#2 KAGRAN, track 5, 2010.
------Romantics in the fire in the beginning
Subtle history-sen-sation
There was once a light illuminating the forest. mountains, fjords; from flesh
burning and transcending. a drunken god hanging one-eyed one-legged from a
really really old old treA.
As pointed out above, there is a history of modernism, and a far vaguer history
of art. Hailing from Germany and Austria art history as a discipline was
established not until the late 19th century early 20th century (Larsson 1997,
9). The earlier teaching at art academies, or Vasaris biographies of artist
lives, are not the same. The heritage it carries is still strongly romanticist
being its time, its present common sense; and as this is the background from
which we still evaluate art. If we are asked to build our knowledge from this
basis, it is interrogation of the assumptions that is the sufficient method.
They frame our possible practice, they are 'generative' for the present
condition.
Subjectivization units. If Kant admitted landscapes and natural forms in the field
of applied aesthetics, we know that Hegel reined in this domain by reducing it
exclusively to that specific class of objects formed by works of the mind
----(//breaking the pure quote, since the English translation is no good, it is
not a ‘works of mind, it is not a class of objects’ it is simply: åndsverk. the
geist is playing//)----. Romantic aesthetics, from which we may very well not have
really emerged, postulates that a work of art, as a product of human subjectivity,
express the mental world of a subject. (Bourriaud 2007, p134)
With Vasari then, the style of travel log and biography as a how of talking
about art, reception, and now.here.: my text, is not a biography, not a travel
log. The artist as genius, the act of art as bringing the new into the world
(oi! Ranciere och old Badiou), and the disinterestedness. Mourning the tradition
of art history anachronistic-disruptive in its bringing cultural artifacts into
"art", forcing the facts into tight fitted categories (then).
Sense making is: Tracing my movements, moving backwards, to rediscover how my
assumptions came to dwell so comfortably, curled up like a fat, deep pink, yet
faintly pulsating glowing larva, folded around a brain matter cushion.
Assumption is less like a tumor, more like a pet.
------------------------264:
hey, shh, listn to me: By giving material form to words and letters, she probes not just language and the semantic meaning of
words, but also our understanding of them.
265.
I, too, lived in Arcadia, where you now live; I, too, enjoyed the pleasures which you enjoy; and yet I am dead and buried. (Panofsky
sitert i Sublime Poussin, By Louis Marin. ((Louis Marin, -Panofsky and Poussin in Arcadia).
137.
Gerald Rabkins The Play of Misreading: «To reject theory is to accept the theory you have been handed.»
--------------------Picking A-part of Place, aparte, Topology continued
We are quickly differing from the previous generations. Post 1989, and post
2001, post 2008. Neo sincerity, internet loosing its innocence. References and
sources, globeish. Moss, a sign for symbiosis. Sound, event immersion. Iff
forgetting desire, is forgetting 'self', then sound can be a theoretical/
practical exercise in world bettering. This would be the Cagean device, how to
let the crowd forget their ego and thereby practicing at becoming better human
beings - avoiding the self reflexivity of memory, repetition, knowledge (Blom
1998, p63). To contest this, a SciFi example: What are the creatures lacking
desire? They are machines. Our image of human beings sans desire is machine. So
the forgetting of desire, a world without it, may not be a solution at all, is
nightmare world). Andre Breton on objective chance, the encounter of a personal,
subjective casual chain of a human psyche, with an objective chain, being the
events in the world at large. A ?drift?, triebe, desire, a heading towards a
sign. It says something of how we relate to and feel placed by signs, still if
their meaning is floating and temporary (we are also temporary and I have been
to arcadia and there I ate hot crusted buns with honey and drank fragrant black
light roasted coffee). The Western modernist projects connection to colonialism
covers us, the weight of the abundance of objects displayed as if they belong. A
received system of categories and systemacity.(Buergel Afterall, online).
----------Example
Objective Chance (Honoré) (2010). Documenting an instance of exquisite corpse
coincidence. The surrealists are relevant to my practice and way of working, but
I truly disagree with their embracing of the unconscious, I will refrain from
commenting on this further here. You see a digital photo of a page in a library
book. The book is Honoré de Balzac's The Unknown Masterpiece. An earlier user of
the library services (the library at the old National Academy of Art) had
evidently smashed a fly over the words "wanting to fly" ... "could still feel
the air rushing by..".
------------------Burrowing owl head tilt1
Bur-row, present particip of verb, burrow. 1. Of animal, to make a hole or a
tunnel, esp. To use as home or dwelling. ''Moles burrowing away under ground'',
''burrowing earth worms''. 2. Advance into or through something solid by digging
or making a hole. Making a hole, si, is to say, establishing a lack. Not
necessarily filling it, fill stuff goes outside, in a pile.
All owls will tilt their head to hear better. Owls have uneven ear slots on the side of their head,
meaning that one ear mat be up towards the top of their head and the other will be towards the
bottom. Owls tilt their heads to get the same amount of noise in each ear so they know what
direction the noise is coming from.
Leyline: I will happily teach you pseudo science from my near sighted eye. My
strong eye my weak eye.parasite eye
------------------------------Burrowing a sustainable practice
Living and ‘working’ between Oslo and London: She unlocalised existing. Siting
my practice in movement, unrest, the operational kills. ÅÅÅÅÅÅÅÅÅ (my name
became ornament, the phonetics cracked, othering, me, eem, em. The only constant
coffee, wherever me moves). Making more then skin deep the allowance for
estrangement within the method (e.q. antitotal, e.q. good). One ‘now’
realisation: Finding that my installations are taking on some kind of
recognisable 'language', or structure etc. Disliking it? For they should not be
comforting, it shall not be neat bundles, it shall not add up (what preschools
teach as, multiple layers of meaning), it is not narration in the sense of
1
http://www.youtube.com/watch?v=ZyWrGP1w4jI
making the world or the disparate non connecting images agreeable. Boredom is
necessary? Dangerous boredom and lovely oblivion. The understanding why and
what, keeps you in an ongoing tiring vaguely entertained suspense. Rancieres
image workers go home and write po-E-try
-------"its a trap!" -General Ackbar //return of the jedi
akk og akk
er akk-bart
akkbar, magnus, stor stor
arabisk-viking, mikkla mikkel. er digert dette
---straight men have been tricked into being aroused by one of their own gender
economy of 'un-reality'// economy of ontological forest// ontological scope,
land scape
scope
e-scape
cinema,scope
scopos
scopofilia - hollywood, scope, the big image, strong image
---:: immersion, not the cinema, the distraction, as ideal :::
-------------------------------Pedestal/plinth, frame and si-tu-ation for display. The surroundings of the art
within the situ of display is less an experience of unwanted agression from the
room or the institution, than one of fascination. Lucy Lippard sugests that the
politics of conceptual art (for her, the dematerialized signs), were more
political in its shape than in its content: "The frame was there to be broken
out of"(Lippard 1997:xiv). What happens with isolated objects, what happens when
pedestal and art become one? Manzoni’s pedestal for the world, where he chooses
the planet to be his sculpture, would be one extreme.
Example
The studio in my practice is a room for accumulation and the fallout area of
produced pieces and stranded thoughts. It is important and messy and vital to my
practice. Compared to my intallation pieces the studio is a fright. To enter a
raw room, in some sense the close unconscious of a person, is like an intrusion.
(onto the visitor). Daniel Burens remarks on how the art piece definitely alters
from the studio to the exhibition space, any exhibition space I believe, has
been important for the conception of my practice. To accept the messy studio and
the dissimilarity of the other place, the any place of exhibiting. This connects
to recent thoughts on the possibility of an ideal space of receiving a word
based art piece. In the tested instance it was presented as sound but also
available in print, the print also having been used as press release. My aim set
at producing some kind of focus point that was unspecific enough to disperse
thoughts, but also make them gravitate towards the on goings in the room.
By not de-limiting art when presented outside of the coherent logic it exist in
within the studio space (or any other space of doing of the art, its ecosystem),
the art will be present as an thing (gegenstand) intended to fulfill some
function ut which has been lost. No on knows how to utilise it any longer. (ReGrip, 2010, example). Daniel Buren writes that some-thing is dying in the moveremove motion, from studio to a non-connected exhibition situation. This is of
interest, to the extent that I have lifted into and integrated in some of my
'pieces' the exhibition Back Ground.
-------------------
Examples of this way of working, with lost objects, can be found in my BA thesis
exhibition. How to Reinstate Civilization (2010). Remnants of structures. Postapocalyptic. Denotation of post-apocalyptic here: the interest is not in the
ScienceFiction subcultures or any other variation within A-culture. A culture
that could be defined in multiple ways, but the dominant trait is the Anonymity
as a fundamental basis for expressions of any kind without the impediment of
identi-fiction or direct correlation to life. Recognition of novelty space by:
1. Discourse is primarily written rather than spoken. 2. Participants are mostly
if not totally anonymous.3. Interactions are evanescent, disappearing within
hours, or minutes. (Auerbach 2012).
My toes are only barely wet in that acid ocean, and only sufficiently for me to
say that what interests me with post apocalyptic is not the obsessive character
of fandom that can be taken beyond those distant stars and on to the cool sky of
shiny defensive presence, that is, awkward word, old word: ‘urgency’. The
connect with post-apocalysm in 2010, emerged more from the introspective
situation described above on the status of gegenstand in rooms/sites than from
fishing subjects off servers.
How to Reinstate civilisation, was a trial way of working. By immersion, self
forgetting into a subject and letting the results unfold. A collection of
gegenstand, singulars untitled, the totality of the installation the smallest
site for meaning: A book in concrete, soaking and captured in the coagulation of
its plinth; a rickety hedge, takeaway style with a hinge system and painted in
Buren style stripes, red and white, you could take it with you and set it up
anywhere; A box made of found wood debris and wrong sized nails, kept together
with metal hook and hinges, interior clothed with plastic and filled with moist
earth, being a temporary home for worms; A square lump of grass and earth
unwrapped and exposed from a white plastic bag, attained in slottsparken aka:
the Queens Garden; Two piles of cards sized A5 with simple abstract signs and
accompanying verse:
Grass from the Queen’s garden & milk drawn from her chest, will save food
production.
&
(one worm alone, even, will help maintain the oxygen levels of the dirt, no
humid intestine warp shall damage this sweet earth
It is time, to take your part: leave the building, find a worm, nurture &
sustain it, close to your he.art)
----10. To disregard symbols is to disregard a part of human perception.
- Rødland 2011
----During the exhibition, the unattended grass dried out and died. The most
visually agressive part of the installation set was a ‘flag’ made from grey long
cloth, plainly too thick to be really used as a flag (heavy to carry), it was
fastened to a pole consisting of a wooden broomstick and a metal tube from a
curtain rack, the overlap secured with gaffa tape. The cloth was long and
draped, less like a flag and more like some cloth tied to a pole. Nestled like a
bird on the closet section of the long Tullinløkka Kunsthall, next to the
toilets, was my final piece, a video collage. Much like a key element, it shared
with the users of the exhibition the most recent source for my fascination with
the post apocalyptic at the time. Being the series Survivors (BBC). Organaised
by a number count down, where the selection of scenes and lingering with
material that depicted the ways of communicating the fact of post crisis. Such
as over populated public spaces emptied of human presence, the eerie light of
morning since the footage of empty is easier achievable during the early hours
of the day while the public is sleeping. Corpses left to rot in the river
Thames, empty hypermarkets with still fresh food i bright colours contrasting
with the predominant grey swatch, and especially interesting: the way the series
depicted social relations of power death and desire within the ‘group’ ‘new
family formation’. The viewer is asked to think possible worlds through these
ideal images. Culminating at scene twelve, a fight to the death between the two
prominent alpha agressive male characters of the series, (an epic style scene
drawing on biblical stories the like of: ‘‘Jakob fighting the angel’’, and
‘‘jesus being tempted by the devil’’ on some castle wall). The video collage
served as a key for the other pieces.
-----------450.
enjambement. versebinding. det som skjer når setningen ikke avsluttes på en verselinje men fortsetter på neste.
451:
Horats - skrev smilende elegant og med et iskaldt intellekt.
452.
"But art is cheating to begin with" (Seth Price, parkett)
453.
At the same time, you open yourself up to a different kind of judgement. (seth price, intro, poems).
-------------An art ‘user’: one who approaches and seeks art out. Not expecting
entertainment, and accepting that art may be difficult. Greeting art with the
basic assumption that it is other, an unknown, and that is ok. It is ok to talk
about it and to connect with other peoples idea about what they have seen as
well. It is, in a way, all there. (While my intentions are hopefully not the
end, the destination of the piece. The author has been dead for such a long long
time, just as the truth of the sign, and I can’t believe that I still feel that
it is necessary to point it out. Said in another way, I dont make art my parents
will understand or even like f they understood it.
This is a bridge.
Liking and understanding
And the lure of the voice.
Pushing the voice onto a point where it breaks
breaks into singing or just plain breaks.
------------The description of the content and background for How to Reinstate... above, is
in such detail because I at the time really believed that it would be the way to
work, and to
a
degree it is. A working title for my MA project, «the process
is as pointless as it is interminable», basically points to this kind of ongoing
making external of what ever is gong on in my thinking at the moment. Process
that draws or drags lines, all inconclusive, and more like stages of a process
that does not preclude looping back onto itself to eat its own tail or reshape
previous thinking; not for clarity, but to set the stage light differently,
changing the pace or rhythm, reshuffling the pieces and relations of the page,
the installation.
It is not that this description of method is not descriptive, but during the
last year I became interested in finding a way to avoid this kind of immediate
externalisation as the manner of ‘doing art’. Just waiting for an invitation to
a deadline is not sufficient, and tried to find a model or method for a
sustainable practice, beginning from a material less connected with ‘my’
unconscious as the production guarantee.
Narratives
structures
Google poem---> voice.
Example
Please note that the text is untitled, it is how ever 'keyed' (see end of text).
-----This eclectic review. Samuel Greatheed, Daniel Parken, Theophilus Williams - 1821 – in
literary criticism. Up her residence at a little country seat ten leagues distant from
the metropolis: ''In this state of voluntary exile 1 had peaceably resided for a month,
when a. And 1 was apprised by one of my friends, that a gendarme would be with me in a
tew abstractions caught from a coterie of philosophers, or vague English notions.''
Metropolis, January 2011 archives. Saying that you're just from Philadelphia is too
vague, and saying that you're from a bad part of town puts people off. Typically, I get
a: My Voluntary Exile. Metropolis: VoxPop. Personal essays about the trials and triumphs.
Married 23 years, my poor husband and I are terrible at capital-R Romance. He tells us
something vague about our final project, and sends us on our way. Mediterranean poetry.
Mel Kenne. 29 Jan 2010 – I hope that the spell cast by this silvery day will help me
express my feelings about. They might say that using it to indicate a voluntary exile
trivializes the... his home only vaguely indicated by his physical appearance, which...
Doc, a snake came to my water-trough ...the second half of his life, much of which he
spent in a voluntary exile he called his “savage pilgrimage”. And looked at me vaguely,
as drinking cattle do. [PDF] Precarious Immigration Status Dependency [PISD] and
Metropolis. I would like to mention another point that is close to my heart. ...woman,
but a group of people who have much more vague and complex relations among enough
attention, voluntarily or not, to these people's histories of exile, and the George
Lamming and Paule Marshall. Two contrastive views on the ail exiles: Marcus Garvey,
George Padmore, and Frantz. Fanon. Without any, a voluntary separation or absence from
one's home or country is lines of his first novel. In the Castle of My Skin. When the
reader "better break" remains the basic reason which is vaguely but frequently the
metropolis and life in the colony. 130+ items – Definition of Voluntary! Vegetable Diet:
As Sanctioned by Medical Men, and by Experience in All Ages Literary and Philosophical.
Essays • Virtual Parish. The Holy Orthodox Metropolis of Boston. And again in another
place calling them sweet he has added, to my palate. The holy Athanasius spent twenty
years of his life in exile, away from his 'If' we first engage in voluntary ascetic
labor, we will be spared the unsought. Certain signs and vague traces of this were
graciously given by God both in the Old and \ . . my duty to defend the truth': Erich in
Schoenberg's Berlin. Fame and fortune in the Prussian metropolis thereafter ...but the
present writer, in voluntary exile from his erstwhile Schoenberg found this vague
orchestral.
my voluntary exile in the vague metropolis
search engine 'google' from 'macbook pro 15'' (2007)', UK, 17.02.12
--------------a way to escape the solipsism of my own work circuit
I repeat & add:
Close enough to making sense that the text seems strange, but still not altering the concrete text aside from merely
removing some words and conforming the appearance to a standard of my choice. I recorded the text in the exhibition
space which has a highly characteristic reverb which is lost when people populate the exhibition. This way of working with
text, setting up a system and letting go of the control, connects to the first piece you saw, Objective Chance (Honoré), with
Balzac and the squashed fly, the coincidence that makes sense, and thus, producing just the kind of meaning I am chasing
after in my practice.
------------There is a debate still to be had concerning the ‘unconscious’ vs ‘objective
chance’ (not provoking it, but looking for it, and yes, there is a difference).
Seeking out another place-way to live, writing in a non-mother tongue, finding
weirding of the language and unfamiliarity as the departure point. The global
condition is nomadic. but I am no less a nomade in Norway, than in England, in
London, Istanbul or Berlin.
It had to be tried to be understood.
Iff I am a story teller (I have been working with fitting words onto objects,
with titles that overpower the instance they are placed alongside, with minimal
gestures (Bruce Naumann being one source, Sue Tompkins another, Cia Rinne),
because also the materiality of art is filled with impact power as it encounters
the right user.
Po-E-Try
Bringing periphery into thesis: poppy seeds nutrion facts, pu-erh tea myth,
library notes, Brecht’s notebook, Jason Dodge Music. (That was one lost pavement
in the forest, broken and emerging between the solid text.
-------------225.
Franklin gothic condenesed (Lawrence weiners chosen typeface): "...it reminds me of the workingclass startch letters that Im
intrigued by. " Hillman Curtis intervju på http://www.saatchi-gallery.co.uk/blogon/view_video/3719/lawrence_weiner_interview)
226.
(ibid, Lawrence weiner om helvetica).
- L.W.: Everyone was using helvetica which I absolutely detest.
- SPM: why.
- L.W.:It is totally authoritative. Helvetica does not adapt itself to things. All information coming out of helvetica is saying excactly
the same thing. Its telling you that this is cultural, this is intelectual and this is intelligent. Ahh. Im rathe afraid that words don't start
off beig cultural, intellectual or intelligent.
-------------------There is still some space left for me to say something about the ‘poetic’, the
way we make images, not in traces but in identification with possible images.
The way we picture our life world. To put something in the place of the unknown,
to synthesis gold and mountain to have an image of a golden glow-down mountain
(be it from sunlight or from minerals). (Hume). And the lure of a ‘strong
image’. It does not ask for forgiveness, it does not want your opinion, only
your consent. I am not interested in the strong or striking image, the
irrefutable, I am how ever interested in what words can do with the world. Not
as rumors, but as descriptions. It is a weird fact that the human mind has
continuously been likened with the most up to date technology. Thinking: the
brain is like windmill. like a sailor on his ship, a steam engine, a telegraph,
a radio, a computer, the mind is software. I am icloud, wirelessly updated and
connected to the server and the database. How we imagines stuff sets limits for
interpellation by the ‘law’.
When I am bringing the periphery of the creative process into or onto the
exhibition site, it is to say that there are connections, lines of causality
reasons behind the unexplainable you see. (jason dodge, presence, the room is
filled with the people not there.) no island. no man. no lone. Since this is
writing, I have brought with me som debris and scattered it about. In art the
framework for writing is cracked and torn to begin with, the amount of words
being the final holy grail.
--------------------Poetics is valuable, poetic says effort, and directs attention to a user/viewer/
reader/listener. How do I imagine my audience...normally not at all, as a person
who is not a structuralist, not constructed by a feeling of fidelity to some
kind of ideal kosmos behind the real world chaos. A being who has accepted the
un-scape-ability of ‘it’. A polyfon dense cluster of attention (what they could
be).
R->U.in?
UN-CER-TAINTY
or doubt. the leading gjost ghost
the perplex self commercing, not bringing any other goods than its own
complexity, is perverse. perversion is bliss. (Rødlan, online, note ‘8’).
('here' 'it' denotes not photography as in Rødlands original note, the shifter
'it' points to any piece of art.
-----Sketch for an old sound piece:
I found a piece of heart
//rep x (infinity)
--i am staring at the borders, lines of inscriptions, territory marks.
Bibliography
Bourriad, Nicolas. 2007. ‘‘Mot en formenes politikk’’ in Relasjonell estetikk.
Scheel, Boel (Trans.) Pax forlag A/S (artes series), Oslo
Blom, Ina. 1998. "Boredom and Oblivion" in Friedman, Ken (ed.) The Fluxus
Reader. Academy Editions, UK
Buren, Daniel. 1979. "The function of the Studio" (org. 1971). Translated from
French by Thomas Repenske in Oktober vol 10
Groys, Boris. 2009. ‘‘Topology of Contemporary Art’’ in Antinomies of Art and
Culture. Enwezor, O., Smith, T., Condee, N. (Eds.) Duke UP, Durham
Larsson, Lars Olof. 1997. Metodelære i Kunsthistorien. Cappelen, Oslo
Lippard, Lucy. 1997. Six Years: The Dematerialization of the Art Object from
1966-1972. University of California Press, annoted edition
Lenker
Auerbach, David. 2012. Anonymity as Culture: treatise. <http://
canopycanopycanopy.com/15/anonymity_as_culture__treatise>
Buergel, Roger. "’This Exhibition Is an Accusation’: The Grammar of Display
According to Lina Bo Bardi" in Afterall no 26, last visited 28.02.12, <http://
www.afterall.org/journal/issue.26/this-exhibition-is-an-accusation-the-grammarof-display-according-to-lina-bo-bardi1>
Rødland, Torbjørn. 2011 "Notes on Photography" in <http://
canopycanopycanopy.com/12/sentences_on_photography>
-------------------------------Post script, (the greatest commodity you will ever know, anonymity).
Art still needs to be most excellent and most difficult.